Crazy decline! And while I adore La Moffo, I have to agree with Peter Jackson, or is it Michael Scott, or maybe one of the parterriat, who thought she never quite lived up to her potential as an interpreter given her huge jumpstart with that voice. Or even Mme. Callas herself, who once said someting to the effect that she couldn’t “skim through Violetta the way Moffo does” (ouch!)- but still, it was gorgeous while it lasted. And truly, not much of an actress, although she had the reputation in some quarters, but they mistook personal beauty and being at home on stage for being a great actress. Not the same thing. But she was a star, that’s for sure.

Milady:
….“skim through Violetta the way Moffo does” (ouch!)- but still, it was gorgeous while it lasted. And truly, not much of an actress, although she had the reputation in some quarters, but they mistook personal beauty and being at home on stage for being a great actress. Not the same thing. But she was a star, that’s for sure.”

IMNSHO, that is a perfect description of Netrebko’s assumption of many a role. She skims through it, and then on to another glossed over role.

Clita -- your comments are apt regarding La Trebs -- who I like very much, and who has always reminded of Moffo, too -- except that Moffo was a better coloratura sharpshooter.
p.s. And I meant to say ‘Paul’ Jackson -- not Peter. Don’t know why, but I always make that mistake. RAS as Galadriel ca. 1990!

Thank you for quoting Paul Jackson, Milady. He is a commentator most
superior, and his books invaluable. I heard so many of the broadcasts
he critiques; it is a real trip to read him and re-read him; also, great
reference books they are.
I loved Moffo for her personal beauty and her ravishing soprano, esp.
early on. But she was a bit of a psychological ‘case,’ insecure, etc., and
that Italian who took her on certainly did not help.
Singers seem somewhat better grounded these days. Maybe.
Ta, F l o r a

Flora -- I love the Jackson books. They bear reading again and again, not only for the informed way he has of describing a performance from all musical aspects,but I admire his evenhandedness (despite his admitted passion for all things Albanese, and I won’t deny him that -- chacun a ‘son’) when giving out demerits -- he always manages to spot good work. And it’s so interesting to go back and read a particular review when Sirius runs that broadcast (or more rarely -- does a premiere restoration)and you get to listen with “refreshed” ears. He is supposedly at work on the fourth volume which would cover most of the Levine “golden era” -- that would be fun. My favorite bedside reading. As a rule.

On the other side are those who are less taken with the cast. Some question the intrinsic suitability of Richard Tucker for the role of Alfredo Germont. More importantly, there are those who are not impressed by Anna Moffo’s Violetta. Here is a rather prominent doubter: In 1964 Maria Callas was to do a revival of “Norma” under the stage direction of Franco Zefferelli. Zefferelli asked her to avoid unreasonable vocal challenges. “I can’t, Franco,” he recalled her saying. “I won’t do what Anna Moffo does in Traviata. I won’t skim through my music. I have to take chances even if it means disaster and the end of my career.” (With Callas holding that attitude, I imagine that the atmosphere in the studio during the recording of “La Boheme” when Callas did Mimi and Moffo, Musetta, must have been a bit strained.)